Documentary Film: A Very Short Introduction (Very Short by Patricia Aufderheide

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By Patricia Aufderheide

Documentary movie can surround something from Robert Flaherty's pioneering ethnography Nanook of the North to Michael Moore's anti-Iraq struggle polemic Fahrenheit Sept. 11, from Dziga Vertov's crafty Soviet propaganda piece guy with a film digicam to Luc Jacquet's heart-tugging flora and fauna epic March of the Penguins. during this concise, crisply written consultant, Patricia Aufderheide takes readers alongside the varied paths of documentary background and charts the vigorous, frequently fierce debates between filmmakers and students in regards to the top how you can symbolize fact and to inform the truths worthy telling.

Beginning with an summary of the critical problems with documentary filmmaking--its definitions and reasons, its kinds and founders--Aufderheide makes a speciality of numerous of its key subgenres, together with public affairs motion pictures, govt propaganda (particularly the works produced in the course of international struggle II), ancient documentaries, and nature motion pictures. Her thematic method permits readers to go into the subject material throughout the varieties of movies that first attracted them to documentaries, and it allows her to make connections among eras, in addition to revealing the continued nature of documentary's center controversies concerning objectivity, advocacy, and bias. Interwoven all through are discussions of the moral and sensible issues that come up with each point of documentary construction. a very priceless function of the booklet is an appended checklist of "100 nice documentaries" that any one with a significant curiosity within the style should still see.

Drawing at the author's 4 many years of expertise as a movie pupil and critic, this publication is the suitable advent not only for academics and scholars but additionally for all considerate filmgoers and should you aspire to make documentaries themselves.

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Extra info for Documentary Film: A Very Short Introduction (Very Short Introductions)

Sample text

A word about stand-ins: A good stand-in is a precious resource, far more than the “warm body” the title “stand-in” implies. They're usually professional extras who have come to specialize in this job. Some have formed a special relationship with a particular actor, and that actor will always request that that particular stand-in be hired. I have worked with stand-ins who could tell you on exactly what line or cue the actors they are standing in for will move, how fast they will move, how they will stand (or lean or slump), what kind of idiosyncrasies they have (like always being a foot off their marks), and when you'll need to look out for those idiosyncrasies.

Notice that the camera assistant has a different call than most of the rest of the crew. 7 military) 7:00 7:30 ADs and teamsters are already there Camera assistants arrive DP and rest of crew arrive Camera assistants' call time Crew call time Shoot call time Every department has some sort of tools; even makeup has to check the powder, creams, sponges, and powder puffs. Camera has a lot of tools. The assistant has to build the camera—make sure it's working; warm it up if it's a film camera; mount the lens; attach the accessories; load the film, tape, or cards— and get the camera out to the set to the spot where you'll be shooting.

The reality is probably somewhere in between. Meanwhile, the camera crew will be hovering nearby, picking up on what the first setup will be. The key grip and gaffer will stand by for hints about lighting. ” Marks are pieces of tape put on the floor in a “T” shape at the actors' feet to assist them in finding the places they are supposed to stop and stand during the scene. The standard mark is a T, the crosspiece between the actors' toes with the upright pointing back toward the actors. And there are other situations.

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